At the Boston Symphony Concerts

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BOSTON SYMPHONY ORCHESTRA

FOUNDED IN 1881 BY HENRY LEE HIGGINSON

CAMBRIDGE SERIES EIGHTY-SEVENTH SEASON 1967-1968 Exquisite Sound

From the palaces of ancient Egypt to the concert halls of our modern cities, the wondrous music of the harp has compelled attention from all peoples and all countries. Through this passage of time many changes have been made in the original design. The early instruments shown in drawings on the tomb of Rameses II (1292-1225 B.C.) were richly decorated but lacked the fore-pillar. Later the "Kinner" developed by the Hebrews took the form as we know it today. The pedal harp was invented about 1720 by a Bavarian named Hochbrucker and through this ingenious device it became possible to play in eight major and five minor scales complete. Today the harp is an important and familiar instrument providing the "Exquisite Sound" and special effects so important to modern orchestration and arrange- ment. The certainty of change makes necessary a continuous review of your insurance protection. We welcome the opportunity of providing this service for your business or personal needs.

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BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF Music Director CHARLES WILSON Assistant Conductor

THE TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA INC. HENRY B. CABOT President TALCOTT M. BANKS Vice-President JOHN L. THORNDIKE Treasurer

PHILIP K. ALLEN E. MORTON JENNINGS JR ABRAM BERKOWITZ HENRY A. LAUGHLIN THEODORE P. FERRIS EDWARD G. MURRAY ROBERT H. GARDINER JOHN T. NOONAN FRANCIS W. HATCH MRS JAMES H. PERKINS ANDREW HEISKELL SIDNEY R. RABB HAROLD D. HODGKINSON RAYMOND S. WILKINS

TRUSTEES EMERITUS PALFREY PERKINS LEWIS PERRY EDWARD A. TAFT

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NORMAN S. SHIRK JAMES J. BROSNAHAN Assistant Manager Business Administrator

SANFORD R. SISTARE HARRY J. KRAUT Press and Publicity Assistant to the Manager

ANDREW RAEBURN MARY H. SMITH Program Editor Executive Assistant

SYMPHONY HALL BOSTON MASSACHUSETTS 3 Erich Leinsdorf ...an authority on Brahms Enjoy both of these recordings, as well as the Brahms Symphony No. 1, as inter- preted by the Boston Symphony under Leinsdorf, master of the Romantic School.

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CHARLES WILSON Assistant Conductor

FIRST VIOLINS CELLOS BASSOONS Joseph Silverstein Jules Eskin Sherman Walt Concertmaster Martin Hoherman Ernst Panenka Alfred Krips Mischa Nieland Matthew Ruggiero George Zazofsky Karl Zeise Rolland Tapley Robert Ripley CONTRA BASSOON Roger Shermont John Sant Ambrogio Richard Plaster Max Winder Luis Leguia Stephen Geber Harry Dickson HORNS Gottfried Wilfinger Carol Procter Jerome Patterson James Stagliano Fredy Ostrovsky Charles Yancich Leo Panasevich Ronald Feldman Noah Bielski Harry Shapiro Herman Silberman Thomas Newell BASSES Paul Keaney Stanley Benson Henry Portnoi Sheldon Rotenberg Ralph Pottle William Rhein Alfred Schneider Joseph Hearne TRUMPETS Julius Schulman Bela Wurtzler Gerald Gelbloom Armando Ghitalla Leslie Martin Roger Voisin Raymond Sird John Salkowski John Barwicki Andre Come SECOND VIOLINS Buell Neidlinger Gerard Goguen Clarence Knudson Robert Olson William Marshall TROMBONES Michel Sasson William Gibson FLUTES Samuel Diamond Josef Orosz Leonard Moss Doriot Anthony Dwyer Kauko Kahila William Waterhouse James Pappoutsakis Ayrton Pinto Phillip Kaplan TUBA Amnon Levy Chester Schmitz Laszlo Nagy PICCOLO Michael Vitale TIMPANI Victor Manusevitch Lois Schaefer Toshiyuki Kikkawa* Everett Firth Max Hobart OBOES John Korman PERCUSSION R al ph Comber Christopher Kimber Charles Smith Spencer Larrison John Holmes Harold Thompson Hugh Matheny Arthur Press Assistant Timpanist VIOLAS ENGLISH HORN Thomas Gauger Burton Fine Laurence Thorstenberg Reuben Green HARPS Eugen Lehner CLARINETS Bernard Zighera Jerome Lipson Olivia Luetcke Robert Karol Gino Cioffi Akio Akaboshi* Pasquale Cardillo LIBRARIANS Bernard Kadinoff Peter Hadcock Victor Alpert Vincent Mauricci Eb Clarinet Earl Hedberg William Shisler Joseph Pietropaolo Robert Barnes BASS CLARINET STAGE MANAGER Yizhak Schotten Felix Viscuglia Alfred Robison WILLIAM MOYER Personnel Manager

*members of the Japan Philharmonic Symphony Orchestra participating in a one season exchange with Messrs George Humphrey and Ronald Knudsen 5 MaaarmaAnc. At the gheUroussecuaouse osion Boston Symphony Concerts / this year,

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6 THE FUND FOR THE BOSTON SYMPHONY

The Fund for the Boston Symphony now stands at just over $3 million in its campaign for $5.5 million. The table shows what has been accomplished, and what must still be done: Gifts needed Range Gifts received 1 $500,000 – 1,000,000 0 1 300,000 – 499,999 0 7 150,000 – 249,999 3 15 50,000 – 149,999 6 64 10,000 – 49,999 43 200 1,000 – 9,999 278 1,750 100 – 999 210 2,500 Under $100 779

Every major orchestra in the country is campaigning for funds to match its own Ford Foundation challenge grant. Several individuals have already made extraordinarily generous donations, which show how highly they regard their own orchestra.

New York an anonymous gift of $1 million, two gifts of $500,000 each and ten gifts between $100,000 and $500,000 opened their campaign. Indianapolis a single $2,000,000 gift to guarantee the success of their effort. Cleveland a gift of $1.34 million to help build an outdoor center for summer concerts. St Louis a $1 million gift to launch its Ford campaign. Denver a single donation of $250,000 in 'the hope .. . that this gift . . . will stimulate other significant gifts to the Endowment Fund'. Washington a gift of $1.75 million and land for the construction of an amphitheatre. Minneapolis a $500,000 gift to name the concertmaster's chair.

'If others can do it,' says Philip K. Allen, general chairman of the Fund for the Boston Symphony, 'we surely can too — and we will. Warmest thanks to those who have already given. I ask those who have yet to give, or who feel that they can increase their contribu- tion, to let their gift be thoughtful and generous, and a measure of the regard in which they hold this magnificent musical organization.'

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Contents

Program for December 5 1967 11 Future programs 6i Program notes Brahms — Academic Festival Overture 12 by John N. Burk Henze — Symphony no. i i8 by Peter G. Davis

Rimsky-Korsakov — Sheherazade 24 by James Lyons The Conservatory's role in music education — Part 2 38 by Gunther Schuller

Today's conductor 53 A member of the orchestra 54 Program editor 56

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10 EIGHTY-SEVENTH SEASON 1967-1968

Third Program Tuesday evening December 5 at 8.3o

CHARLES WILSON conducting

BRAHMS Academic Festival Overture

HENZE Symphony no. 1 Allegretto, con grazia Lento (Notturno) Allegro con moto — Tempo giusto -- Pi u mosso

INTERMISSION

RIMSKY-KORSAKOV Sheherazade op. 35 Largo e maestoso — Allegro non troppo Recitativo lento — Andantino — Vivace scherzando Andantino quasi allegretto Allegro molto — Recitativo — Vivo

BALDWIN PIANO RCA VICTOR RECORDS 11 Program Notes JOHANNES BRAHMS Academic Festival Overture op. 80 Program note by John N. Burk Brahms was born in Hamburg on May 7 1833 and died in Vienna on April 3 1897. The overture was composed in 188o, first performed January 4 1881 at the Univer- sity of Breslau. Georg Henschel conducted the first performance by the Boston Symphony Orchestra on November 17 1882. The Overture has been recorded by the Orchestra under Serge Koussevitzky for RCA Victor. The instrumentation: 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons and contra-bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, bass drum, timpani, cymbals, triangle and strings. Brahms' two overtures, the Akademische Fest-Ouverture and the Tragische Ouvertiire were composed in one summer — in 188o at Bad Ischl. It was his first summer in this particular resort, and although he was somewhat discouraged by an abundance of rainy weather, its charms drew him again in later years (1889-96). 'I must give high praise to Ischl,' he wrote to Billroth in June 188o, 'and although I am threatened only with one thing — the fact that half Vienna is here — I can be quiet here — and on the whole I do not dislike it.' Which is to say that Ischl had already become the gathering point of a constant round of cronies from Vienna. Brahms' friends of course would scru- pulously respect the solitudes of the master's mornings — the creative hours spent, partly in country walks, partly in his study. Later in the r ■ al:il 0:1

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13 day he would welcome the relaxation of companionship — of conver- sation to an accompaniment of black cigars and coffee, of mountaineer- ing (Brahms was a sturdy walker), or of music-making together. When the University at Breslau conferred upon Brahms, in the spring of 1879, the degree of Doctor of Philosophy, the composer responded in kind, and made the institution the handsome present of an overture on student airs. Presents of this sort are not to be unduly hastened when artistic good faith and the heritage of the musical world are considered. Brahms composed and destroyed another 'Academic' overture before this one, if Heuberger is not mistaken. The performance came the following January, when Brahms conducted it at Breslau, while the Herr Rektor and members of the philosophical faculty sat in serried ranks, presumably gowned, in the front rows. It goes without saying that both Brahms and his overture were quite innocent of such 'academic' formality. It is about a tavern table, the faculty forgotten, that music enters spontaneously into German college life. Although Brahms never attended a university he had tasted something of this life at Gottingen when, as a younger man, he visited with Joachim, who was studying at the University. Brahms did not forget the melody that filled the Kneipe, inspired by good company and good beer. Student songs, with their Volkslied flavor, inevitably interested him. He found use for four of them. Wir hatten gebauet ein stiittliches Haus is first given out by the trumpets. Der Landesvater (Hort, ich sing' das Lied der Lieder) is used rhythmically, delightfully developed.

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15 The Fuchslied or Freshman's Song (Was kommt dort von der Hoh') is the choice of the unbuttoned Brahms, and leaves all educational solemnities behind. The air is introduced by two bassoons. When Brahms wrote Kalbeck that he had composed 'a very jolly potpourri on students' songs a la Suppe,' Kalbeck inquired jokingly whether he had used the 'Fox song."Oh, yes,' said Brahms complacently. Kalbeck, taken aback, protested that he could not imagine any such tune used in homage to the 'leathery Herr Rektor,' and Brahms answered: 'That is wholly unnecessary.' Brahmsian horseplay does not get quite out of hand, and the dignities are saved beyond doubt when the full orchestra finally intones the hearty college hymn Gaudeamus Igitur.

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rel When it comes to investment counseling... the man you talk to is Harry Anderson, Vice President, Investment Department of New England Merchants National Bank. Member F.D.I.C. 17 HANS WERNER HENZE Symphony no. 1 Program note by Peter G. Davis Henze was born in Giitersloh, Germany, on July i 1926. The instrumentation: flute alternating with piccolo, alto flute, oboe, english horn, clarinet, bass clarinet, 2 horns, 2 trumpets, timpani, celesta, harp, piano and strings. Hans Werner Henze completed his First Symphony in 1947. Although only twenty-one at the time, the composer was taking an active part in post-war Germany's musical renaissance, and his compositions were already attracting a good deal of attention. His Chamber Concerto for Piano, Flute, and Strings had been prominently featured at the 1946 International Summer Course of Modern Music at Darmstadt — the first annual gathering at a site that was shortly to become one of the avant-garde's most formidable strongholds — and during Darmstadt's 1947 summer session Hermann Scherchen directed the second movement of the young composer's new Symphony no. 1. The first complete performance of the work took place one year later at the Bad Pyrmont Festival on 25 August, when the conductor was Wolfgang Fortner, Henze's teacher and a noted composer in his own right. The Symphony no. 1, as performed by the Boston Symphony Orchestra today, however, is a different piece altogether: in 1963 Henze thoroughly revised the score for small orchestra and subsequently withdrew the original version. Here we have the familiar case of a composer looking back at a youthful work, no doubt delighted with the origi- nality and freshness of its conception, but also somewhat appalled by what he now sees as unacceptable crudities in compositional technique. Henze has even proclaimed the score an 'utter failure,' and in the revision his object was to 'reorganize the material, attempting to reconstruct what I had originally intended: acting like a teacher help- fully correcting his pupil.' Interestingly enough, this was not the composer's only Jugendwerk to undergo drastic 'correction' at the time. The early 196os saw Henze in the throes of a difficult stylistic reappraisal, a reordering of his musical language in the direction of simplicity, economy, and restraint. As a consequence, many of his earlier works now struck him as either impractical and extravagant (such as the gigantic four-hour opera Konig Hirsch) or, like the First Symphony, simply unsuccessful. This stock-taking resulted in a re- examination and recasting of at least ten major pre-1958 compositions. Although the original score of the Symphony no. 1 is no longer available for study, one has a fairly clear idea of the problems that must have troubled Henze. Very nearly all his earliest works — even the

Peter G. Davis, born in Concord, Massachusetts, grew up in Lincoln and Cambridge. He was graduated from Harvard College in 1958 with a B.A. major in music; then studied composition at the Stuttgart Hochschule fur Musik. He did graduate work at Columbia University, where his teachers were Jack Beeson and Otto Luening, and was awarded an M.A. degree in composition. He is now Music Editor of High Fidelity/Musical America, and New York music correspondent for The Times of London. 18 THE BOSTON SYMPHONY ORCHESTRA IS THE JOHN HANCOCK-INSURED GROUP WE MOST ENJOY HEARING FROM.

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19 most proficient and attractive of them — are extremely derivative. It was as if the composer had suddenly stumbled upon Stravinsky, Schoenberg, Bart6k, and Hindemith, and his delight at discovering such potent twentieth-century creative minds occasioned a series of compositions that were little more than brilliantly talented copies. And such indeed was the case. During World War II, Germany had heard precious little in the way of progressive contemporary music, and young German composers had a lot of catching up to do. Henze proceeded to do just this by basing his music on the very best models: the Concertino for Piano and Wind Orchestra with Percussion (1947), for example, a lean-textured, neo-classic work that has Stravinsky's fingerprints on virtually every page; a Bartokian Violin Concerto (1947) literally bursting with passionate melodic fervor; or the Wind Quintet (1952), a cheerful exercise expertly cast in Schoenberg's twelve-note technique. Gradually these widely divergent stylistic influences began to coalesce into a highly individualistic musical character as the composer became more selective in his choices and more adept at assimilating the ele- ments necessary to make his own musical points. When Henze took up residence in Italy after 1952, the change in environment infused his music with a new-found textural luxuriance and melodic sensuousness. The Italian sun seemed to be the catalyst he needed for a final syn- thesis — between 1952 and 1955 Henze wrote Konig Hirsch, which marked a pivotal point in his career, a profusive unleashing of creative energies unmatched by any other composer of his generation. In the exhilarating wake of Konig Hirsch came Nachtstilcke and Arien, Five Neapolitan Songs, Sonata for Strings, Three Dithyrambs, the ballet Ondine — all reveling in a virtuosic security of technique and a natural ease of expression. Few composers have been quite so lavish with their talents as Henze during these years and eventually, perhaps inevitably, he had to check his generosity and take a long, cool look backwards. One direct result was the new version of the First Symphony. Clearly the Symphony in its new form reflects less of the twenty-one- year-old student than the mature composer of thirty-seven. While still

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21 not a work of startlingly individual profile, its musical antecedents have been thoroughly distilled into melodic and sonorous properties that Henze may justifiably claim as his own. Structurally the piece is immaculate — not one note seems superfluous or out of place. And when compared to the Second and Third Symphonies (1949 and 1950), one finds a far freer and more personal application of serial procedures. Melodically and harmonically the work is governed by related intervals of the second, seventh, and ninth as set forth in the opening measures of the first movement. The groundwork having been laid, the balance of this movement consists of a gradual unfolding of a long-lined, disjunct melody based on these intervals — first played at maximum intensity by the upper strings, then continued in turn by the cellos, horns, solo flute, and finally strings once more, always lightly accompanied by delicate splashes of orchestral color from the other instruments. The second movement, subtitled Notturno, depends almost entirely on the major second for its harmonies (woodwind chords formed by com- bining C-minor and B-flat-major triads recur refrain-like throughout this section) as well as for its slow-moving, conjunct melodies. The final section of the Symphony contrasts markedly with the prevailing lyricism of the preceding material. Its restless moto perpetuo character and sharp brassy interjections actually disguise a highly altered picture of musical events already encountered in movements one and two. © Peter G. Davis

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23 NIKOLAY ANDREYEVICH RIMSKY-KORSAKOV Sheherazade op. 35 Program note by James Lyons Rimsky-Korsakov was born at Tikhvin in the Government of Novgorod on March 18 1844, and died at St Petersburg on June 21 1908. The composer conducted the first performance of Sheherazade at the Russian Symphony concerts in St Petersburg in the winter of 1888. Its first performance in Boston was on April 17 1897 by the Orchestra under the direction of Emil Paur. The instrumentation: 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones and tuba, timpani, side drum, bass drum, cymbals, tambourine, triangle, tam tam, harp and strings. Hyperbole is not history, but a case can be made for the proposition that 'Russian music' as a concert-hall genre was born — and died — with Rimsky-Korsakov. We need to remember that secular music came late to Russia. For centuries its performance in any fashion was literally forbidden, and only the monodic, unaccompanied znamenny chant and its variants were heard in the land. This is not to say that there were no furtive bards. There must have been some clandestine music-making even in medieval Muscovy; Slavic song is an ethnic treasure-trove, and such a heritage had to be a long time building. But music was indeed proscribed, and even the mighty Czar Alexis got into trouble when he imported a group of Western musicians in 1648. The then-mightier Orthodox Church simply issued a ukase commanding 'that all musical instruments were to be broken up and burnt.' Whereupon five wagonloads were destroyed, and the Czar went without music even as his humblest subjects did. His son had better luck. Ecclesiastical schisms served to strengthen Romanov power, and in 1703 Peter the Great was able to lay the foundation of his glittering new capital at the mouth of the Neva, a window through which his people might look into Europe, as someone once put it succinctly. Music was to be another long time coming, nevertheless. The birth of Mikhail Glinka, the first real Russian composer, was still a hundred years away. When the violinist Louis Spohr went to St Petersburg in 1802, he was startled to find that the musical community was populated mostly by non-Russians. In keyboard pedagogy, for example, the scene was dominated by an Italian, Muzio Clementi, and an Irishman, John Field. Two decades later, when Glinka himself was a burgeoning pianist, what he performed were concerti by such as Hummel; and when he attended the Imperial Opera what he heard were works by such as Boieldieu, Cherubini, and Maul. Later yet, the so-called Russian school of fiddling would be founded by the Hungarian emigre Leopold Auer.

James Lyons, an alumnus of the New England Conservatory and a graduate of Boston University, was born in Peabody, Massachusetts. He wrote about music for The Boston Post and The Boston Globe, and contributed to The Christian Science Monitor. He was editor and critic for Musical America, and has been for ten years the editor of The American Record Guide.

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25 But by then (1868) the necessary cross-pollination was accomplished. The emergence of a truly Slavophilic climate of creativity had been signalized only the year before with a concert at Mily Balakirev's institute which prompted Vladimir Stasov to coin the collective sobriquet (initially pejorative, and as it turned out not at all prophetic) usually translated as 'The Mighty Five' — namely, Balakirev himself and four of his proteges: Borodin, Cui (both already in their thirties), Mussorgsky (born 1839), and Rimsky-Korsakov, at twenty-three by far the youngest member of Balakirev's inner circle. After nearly a century of perspective Mussorgsky remains an 'x' factor in music history. That he was a raw genius and that he was harmonically and otherwise ahead of his time is beyond question. What is not beyond question is the extent of his actual influence. He seems to have been less seminal than unique (like Tchaikovsky outside the Tive'). Balakirev had considerable influence on his students, but it ended there. Borodin had none, but he left behind some marvelous music. Cui had none, either; and for better or worse his music died with him. Rimsky-Korsakov was something else: he was heir to no codified national heritage; Glinka, for all his deification, had done little more than put peasant clothes on Italianate models. Rimsky hoisted a new standard; his art was of international quality, but its essence was passionately Russian. After his passing (in 19o8), that standard went Now long did it take you to get to Symphony tonight?

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27 down with the way of life it had graced. Of his prize pupils, Stravinsky soon departed the homeland to pioneer other paths and later saw them paved as roads to neoclassicism. Prokofiev was sworled up in the vortex of Sovietism and turned his immense gifts to dialectical pamphleteer. ing. The proud nationalism which Rimsky had implanted in the musical firmament shone brightly but only briefly, then, before it fell victim to guilt by association with the Romanov dynasty. But its resplendent spirit and substance are still there, in the scores; and no latter-day Russian composer has escaped their influence. The extent of this influence may be inferred in the irony that for all his aristocratic background Rimsky is today billed in the Soviet Union as a hero of communist culture. He must have turned over in his grave on March 18th 1944, when the Kremlin keepers of 'the people's music' installed him in their private Pantheon. That date marked the centennial of Rimsky's birth, and World War II did not deter the calendar-conscious commissariat from unveiling a statue in Leningrad, announcing a handsome edition of his complete works, and releasing a 'scientific but popular' film depicting his dedication to Marxism. This in memory of a man who had copiously set down his admiration for the United States — where he had spent seven months in the autumn through spring of 1863-4. It is true enough that Rimsky had his trou- bles with the imperial household and its censor-happy functionaries. But one shudders, reading Rimsky's Chronicle of My Musical Life, to imagine the ignominies this nonconformist would have suffered at the hands of their doctrinaire successors.

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29 Parenthetically, anyone who scans the history of Russian music over the past century is bound to be struck by a further irony: government support of the creative arts has been a constant factor throughout, though in dramatically different ways. Balakirev sustained himself initially by working as a clerk in the imperial railway system. Mus- sorgsky was an employee of the department of forestry. Borodin was on the faculty of the imperial academy of medicine. Cui was an army engineer. Earlier, Dargomyzhsky had been with the department of justice. (And if Glinka had not been wealthy, nor Tchaikovsky provided for by a rich widow, probably they too would have been public servants.) However modestly or indirectly, the house of Romanov provided a measure of subsidy to aspiring composers long before the Revolution. Rimsky was perhaps the luckiest of them: he got to 'see the world' as a cadet, and later an officer, in the imperial navy. As the scion of an old seagoing family with a distinguished ancestry of braid and brass, Rimsky donned his uniform as a matter of course when he was seventeen. As with his French counterpart Albert Roussel, it was the song of the sirens and not the muse's smile that beckoned most compellingly. But from 1865 forward he drew shore duty in St Petersburg, and almost at once he gravitated to the musical group therapy of the Balakirev salon. There he 'picked up all sorts of smatterings' and even produced, not without assistance, the symphonic poem Sadko (not to be confused with the opera of the same title, which came three decades later). BOCA GRANDE PALM BEACH

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The National Shawmut Bank of Boston Personal Trust Department Not until he was twenty-seven, however, did Rimsky get down to learning the musical craft systematically, and under circumstances without parallel in the history of the tonal art. The short of this fantastic story is as follows. In 1871 the St Petersburg Conservatory got a new director, one M. P. Azanchevsky. He had heard Sadko, and liked it. Sadko was, in fact, all he knew about Rimsky. But for him it was enough. One of his first executive acts was to seek out the young officer (Rimsky did not shed his uniform until 1873) and invite him to join the faculty as a full professor of composition. Evidently the director was quite unaware of Rimsky's technical incompetence, and the latter's embarrassed reluctance only made Azanchevsky more deter- mined to get him. 'Had I ever studied at all,' Rimsky recalled long years afterward, 'had I possessed a fraction more of knowledge than I actually did, it would have been obvious to me that I could not and should not accept the proffered appointment.. .. I was a dilettante and knew nothing. This I frankly confess and attest before the world.' But all of Rimsky's friends urged him to take the job, even though it was to include conducting the school orchestra — and Rimsky had never stood before any orchestra in his life! Rimsky did accept the professorship, 'my own delusions, perhaps,' having prevailed. Whereupon, in darkest secrecy, he started studying. Somehow he made enough headway before the fall term opened to stand before his classes unafraid, and for the rest of that academic year he managed to keep at least a step ahead of the brightest students. The hoax was indefensible, but Rimsky carried it off brilliantly. He

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33 not only justified his self-confidence but also, in time, earned the highest esteem of his peers. He was to serve uninterruptedly at the St Petersburg Conservatory until his death thirty-seven years later — except for a few months in the ferment of 1905 when he was relieved of his duties for defending the academic rights of revolutionary students. (It is clear enough to any close reader of the Chronicle that he took his stand as a matter of principle, not politics; but the official Soviet perception of this episode is of course altogether different.) Nor did Rimsky's assiduous pedagogical career detract from his steady creative growth, which continued to the very end. On the contrary, he started composing what is probably his greatest work, Coq d'or, only after completing his memoirs, on the last page of which he suggests (at the age of sixty-two) that it might be 'high time to write finis to my career. . . Like most of Rimsky's music the symphonic suite Sheherazade was turned out between semesters. In the spring of 1888 he had sketched two pieces. One would become the Russian Easter Overture; the other, not yet clearly in his mind, would be based on certain episodes from the 'Arabian Nights' collection. It took shape quickly once he was ensconced in his retreat for that summer, which was a friend's estate at Nezhgovitzy, on Lake Cherementz. The score seems to have been polished to perfection in less than a month; the movements are dated July 4th, 11th, 16th, and 26th, respectively. It was dedicated to Stasov. A surfeit of nonsense has been written about the supposed program- matic content of Sheherazade. All of it, to be charitable, may be traced to the following few lines, which appeared as a preface to the earliest published score:

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35 'The Sultan Shahriar, persuaded of the falseness and the faithlessness of women, has sworn to put to death each one of his wives after the first night. But the Sultana Sheherazade saved her life by interesting him in tales which she told him during one thousand and one nights. Pricked by curiosity, the Sultan put off his wife's execution from day to day, and at last gave up entirely his bloody plan. `Many marvels were told Shahriar by the Sultana Sheherazade. For her stories the Sultana borrowed from the poets their verses, from folk songs their words; and she strung together tales and adventures.' Similarly, lyrical annotators have 'strung together tales and adventures;' indeed few works in the standard orchestral repertoire have been so importuned. True, Rimsky remarked that he had been thinking of such 'unconnected episodes' as 'the fantastic narrative of Prince Kalandar, the Prince and the Princess, the Baghdad festival, and the ship dashing against the rock with the bronze rider upon it.' He also spoke of the solo violin as 'delineating Sheherazade herself telling her wondrous tales to the stern Sultan.' But in his later years Rimsky was impelled to forswear any intentions of a specific program, and he even went so far as to renounce the outline implicit in the movement designations: 'In composing Sheherazade I meant these hints to direct but lightly the hearer's fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders. . . Rimsky's belated disclaimer did not stop the flow of foolish words about Sheherazade, which continues still. But at no time since the premiere has there ever been a shortage of listeners who 'like' the piece, either because of its 'story' or in spite of it.

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37 The Conservatory's role in music education — Part 2 by Gunther Schuller In the first part of this article, which appeared in the last program, Gunther Schuller discussed the problems which face the conservatory in our changing musical world. He proposed a wider and more general program, so that the student, without sacrificing the basic specialized requirements of his art, may find at the conservatory the means to expand the range and depth of his musical perception. From these remarks you can gather that I lean towards the concept of the total musician and away from the specialist, the non-musician virtuoso, although I recognize that there are frequently exceptional cases whose special musical endowments require a more specialized treatment. Please do not misunderstand me. When I talk about the total musician, I am not talking about some monstrous, perfected genius, some kind of human computer. I'm talking about something very simple. I'm talking about giving the young musicians the tools by which they can live a life in music which is rich, meaningful and rewarding — and not only monetarily rewarding — and not mere drudgery, as is so often the case. I can perhaps put it best by telling you of an experience I had when a few weeks ago, I had occasion to be present at several full days of instrumental auditions. I heard in that time well over fifty young musicians, all of them either young profes- sionals or graduates or postgraduates. Of that number I am sorry to report no more than perhaps 5 per cent seemed to have any idea of why they were playing music, what a musical phrase meant — indeed what constituted a musical phrase — and what the expressive and intellectual range of music can really be. For 95 per cent of them it was merely a matter of pushing down certain keys at certain times, moving arms or adjusting embouchures or whatever was involved in their instrument, to perform what appeared to be a purely mechanical operation. The whole sense of the joy of music, of the beauty of music, of the ability to communicate through music, was absent. If the computer ever takes over the world of music, it will not be because this or that composer wished it so and inflicted it on an unwilling public, but it will be rather because the passivity and utter boredom of the player will have reached such a point that he might as well be replaced by the computer, for at least the computer is efficient. When I hear that kind of audition — and this was not atypical — I become very sad. But it also inspires me to try and do something to prevent that kind of complete emotional, intellectual disassociation and sterility. For it is not necessary that such a thing should happen. I know from personal experience that it need not be so, that even under the most trying professional circumstances, if those roots, emotional and intellectual roots; that I spoke about earlier have grown deep enough, one need never lose one's curiosity, one's love, one's identifi- cation with music and its rewards. And those rewards are richer today, I believe, than ever before. In addition to the 19th century repertoire, we have acquired in recent decades through improved research methods a pre-18th century reper- tory which along with the continual additions in contemporary music

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provide a total musical feast to whet the most jaded appetite. At the same time, the development of a wide variety of new communications media provides an outlet for this expanded repertoire which would have made an 18th century musician envious. The field of music and its peripherally related areas provide a range of outlets, and a potential source of income beyond the wildest dreams of our forefathers. But to operate efficiently and effectively in this expanded field, the musician has to be equipped properly — he has to be the total or complete musician. I am always saddened when I meet musicians who plod along in their everyday existence having no understanding or love of the music they play. They are tolerant, for example, of a few igth century composers (which they usually choose on the basis of how well those composers wrote for their chosen instrument), and they are usually disdainful of all contemporary music or even of earlier composers, like Bach for instance, in whose music the intellectual quotient dares to be fairly high, and are generally speaking pretty ignorant about the incredible variety, breadth and depth of musical languages. Many of them are not even very humble about their ignorance, and of course many of them are teachers who thus perpetuate in their pupils the same kinds of ignorance and prejudice, though in the meantime they may indeed be playing a pretty respectable oboe or cello or snare drum or whatever.

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43 Very often in discussions or arguments about the validity of contemporary music with musicians (who sometimes are more rigid in their thinking than lay people), I tend to point out a very simple fact. This is a hypothetical example involving three musicians in connection with three composers. Musician 'A' likes and understands only composer 'X', a representative of the romantic school; musician likes and understands composer in addition to 'X' ('Y' is a Baroque or pre- igth century composer); musician 'C' likes and understands 'X', and — representing the much feared contemporary music. Is there any question as to who, purely statistically, has the greater enjoy- ment in music; and is there any question as to whose life is more intellectually enriched by music? Can there be any question that the musician who appreciates and understands the structural perfection of the Eroica Symphony, who savors while he is performing the hundreds of harmonic, rhythmic or orchestrational details that contribute to make that piece one of the masterpieces of our musical heritage, receives a kind of psychic income from performing music that the musician who is unaware of such compositional relationships can simply never enjoy. We forget today that the musician of the 16th, 17th and 18th centuries was rarely just a composer or just an instrumentalist. If he was an oboist, he was also a composer and perhaps a pianist; if he was a composer he was also perhaps a flutist or an organist. The creative and

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Elegance in action /96g recreative aspects of music were an integral balance in such a musician's musical constitution, and the one fructified the other. In more recent times, this was an ideal embodied and revived by a composer like Paul Hindemith, himself 'the compleat musician', and one can see this concept still perpetuated at the Yale School of Music where Hindemith taught and created a music school that in many respects is more like the ideal conservatory than many conservatories. This is a crucial point, and it will have a lot to do with the kind of music our children will be listening to ten or twenty years from now. How do we produce this complete musician? Very simply, by the complete conservatory. And that is a conservatory which manifests the same kind of breadth and depth in quality and conception that I have been speaking about. It is a conservatory where the many subsidiary disciplines, whether applied or theoretical, whether vocal or instrumental, whether individual or collective are all integrated, aware of each other, enlightened by each other. In that way the student who goes to such a conservatory will learn to understand — and more important — absorb intuitively how all these theories and methods relate to music, which — I must remind you — we call an art in our society. The student will gradually acquire a vision of that art in

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c\A30 9-603e2), CO'-`c which pushing down keys at a certain moment to produce a certain acoustic result will not be an end in itself or a means of merely gaining a livelihood, but will in addition be a vehicle for expressing feelings, thoughts, ideas — those of the composer he is performing, and even (if he has earned the privilege) those of himself. There is one other problem I would like to touch upon, because it relates directly to my ideas of the complete musician, and the role that the conservatory must play to create that kind of musician. We are going through a period in American education involved with an extremely exaggerated `degree-consciousness'. We have made a fetish of the degree, a pedigree, a kind of automatic approval which cannot be questioned, and we are about to do the same in music with the doctorate. We evaluate people's ability too much on whether they have a degree or not, and what kind of degree they have. Literally thousands of teaching jobs are not available unless the applicant has a degree, regardless of his unique intrinsic ability. Worse than that, our universities are full of very worthy teachers who are prevented from becoming, for example, full professors and receiving the better salaries that are attached to full professorships, because they do not have a doctorate, while some less gifted person who has a doctorate moves ahead into the upper echelons. I think we must stop this madness! We must stop it because we are indulging here in an abstracted educational process which puts the emphasis on the number of study hours completed

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50 The reviewers of this concert probably own a Dual automatic turntable.

avings 19 out of 20 hi-fi experts do. They appreciate,,, uality as you will, how much better records sound when played on a food Dual. (One reason is the flawless 1/2-gram tracking of its friction- free tonearm.) The Dual 1019, usic to $129.50. Other models from your For full information and lab test -- reports, write United Audio, ears! 535 Madison Ave., New York, N.Y.10022 Dual 1019

51 For the universities, mammoth institutions with mammoth organ- izational problems, perhaps this factory-type of method is the only possible and inevitable result. But I believe that the conservatory, a small independent music school, can show a different approach and a different result, and this in some cautious way I would like to inves- tigate and try to do. Institutions just like people must remain flexible, or else they will atrophy. I realize very well that it is one thing to design an abstract blueprint such as the one I have just offered. It is quite another thing to infuse this abstract with life, to make it a consistently productive force. There is only one way in which that life can be instilled in such a blueprint: and the key to that is quality — quality of faculty, quality of student. And here there is no room for compromise. Idealism does not thrive on compromise, nor does quality. And to the extent that it is possible for me to achieve this quality in a humane way, with your help and support, be it spiritual, financial, ideational or moral, I will pursue that goal. I trust that we will someday all be proud of the results of this joint effort.

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52 Today's conductor CHARLES WILSON, Assistant Conductor of the Boston Symphony Orchestra, made his official debut on October 6. He came to Boston from New York City, where for six years he was a conductor and on the musical staff of the New York City Opera Company, performing fourteen different operas and operettas, including Don Giovanni, Boris Godunov, The Merry Widow and Street Scene. In the fall of 1966 he conducted the New York City Opera Company's production of Menotti's The Consul both at Lincoln Center and in the Mid- west. He is conducting four performances of Mozart's The Marriage of Figaro during the present season. Charles Wilson received a Bachelor of Science degree in Music in 196o from the Mannes College of Music where he studied organ with Dr Hugh Giles, and with Carl Bamberger, his only conducting teacher. For two years Mr Wilson served on the Mannes faculty as Director of the Mannes Chorus, and during the 1961-1963 seasons was chorus master for the Philadelphia Lyric Opera Company. Charles Wilson conducted the opening concert of the Berkshire Music Center Orchestra at Tanglewood this summer, and was in charge of the preparation of the Tanglewood Choir and the Berkshire Chorus for performances of Bach's Mass in B minor, Beethoven's Fidelio and Verdi's Requiem.

THE MIDTOWN MOTOR INN cordially invites you to the charming Colony Room restaurant for pre-Symphony luncheon or a gracious after-Symphony dinner. Hold your next social event or com- ,tr„ mittee meeting in one of our beautiful function rooms, available for groups of • 44 10 to 200. 220 Huntington Avenue, diagonally 1,11_1111Fizzioja across from Symphony Hall for reservations call COngress 2-1000.

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53 A member of the orchestra MICHEL SASSON, who was born in Alex- andria, Egypt, of French descent, studied at the Paris Conservatoire National. His teachers there, among others, were Nadia Boulanger and Marcel Regnal. A unani- mous jury, which included Henryk Szeryng, gave him the first prize in violin when he graduated, and he came to Boston with a full scholarship from the New England Con- servatory. He was the Conservatory Orches- tra's concertmaster in 1958-59. He has since performed many recitals and has made solo appearances with the Boston Pops and other orchestras. Two seasons ago he was one of the soloists in Vivaldi's Concerto in B minor for four violins with Mr Leinsdorf and the Orchestra. In January 1967 Michel Sasson founded the Newton Symphony, of which he has since been conductor and music director. Numbering 92 members, the orchestra is probably the largest amateur symphony in Massachusetts. Harvard professors, psychiatrists, plumbers, architects and surgeons make up its membership, as well as the wives, sons and daughters of players in the Boston Symphony Orchestra. The three programs planned for this season — the first takes place on Decem- ber 10 — will present a wide variety of music. The soloist at the first concert will be Leslie Parnas; Joseph Silverstein will appear on March 3 next year and Earl Wild on May 1o. There will also be two concerts for children, for which the Newton Symphony has received a grant from the Recording Industries Fund. When he has time to relax Michel Sasson plays ping pang and is a fan of the Boston Celtics basketball team.

WGBH-FM goes STEREO with

► "Live" Boston Symphony Orchestra Concerts ► Morning Pro Musica

CONTRIBUTED BY GEO. H. ELLIS PRINTING COMPANY

54 "COLUMBIA'N MARCUS REG. PRINTED IN U.S A.

COLUMBIA RECORDS NI \PRESENTS THE FIRST \DELUXE SET OF \ \\THE NINE MAHLER \SYMPHONIES Inc )BRILLIANTLY /CONDUCTED BY LEONARD BERNSTEIN.

Leonard Bernstein, the leading Mahler interpreter of our time, conducts The Nine Symphonies of Gustav Mahler in this elegant 14-LP limited edition. Included in the set are a fascinating 36-page book and a special bonus 12"record, "Gustav Mahler Remembered," containing reminiscences of the composer by his daughter, Anna, and by colleagues.

55 Program Editor Newly appointed editor of the program book is Andrew Raeburn, who has been for the last three years assistant to the Music Director. Born in London, he was educated first at Charterhouse, where he edited the school magazine and studied classics and music. After service in the British army, he went on a scholarship to King's College, Cambridge, and sang in the choir there under Boris Ord and David Willcocks. He was awarded his degree in history, but devoted much of his time to music as conductor of two of Cambridge's chamber choirs, one of which he took on a successful tour to Germany. For a year he was assistant manager of Philomusica of London, directed at that time by Thurston Dart, and then became Music Director of Argo Records. He planned and produced many recordings of choral and chamber music during his five years there, and the musicians with whom he worked included Benjamin Britten, Julian Bream, the Amadeus Quartet, Peter Pears and Mstislav Rostropovich. His recording of Haydn's Nelson Mass won an Edison award. In addition to editing the programs Andrew Raeburn continues as the Orchestra's recording co-ordinator. Award for 'An afternoon at Tanglewood' 'An afternoon at Tanglewood', the program telecast on the NBC-TV network on August 14 1966, has been chosen the winner of the Single Program Television Award of Sigma Alpha Iota, the internationally incorporated professional music fraternity for women. Erich Leinsdorf led the Orchestra in performances of music by Wagner, Brahms and Gunther Schuller, and the two concertos were played by winners of the 1966 Moscow Competition: Prokofiev's Second Violin Concerto by Masuko Ushioda and Tchaikovsky's First Piano Concerto by Misha Dichter. Edwin Newman was the NBC commentator, and 'An afternoon at Tanglewood' was directed by Ted Nathanson, written by June Reig and produced by George Heinemann. Jordan M. Whitelaw was pro- ducer for the Boston Symphony. Sigma Alpha -Iota television awards are designed to honor established network musical programs of high quality and to encourage the development of fine musical programming.

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Exhibition The pictures hanging in the gallery are by the New England Artists' Group, which Roger Curtis founded in 1962 with the aim of showing the work of American artists as widely as possible through exhibitions. The group has presented shows throughout New England in schools, colleges and industrial organizations. The exhibition at Symphony Hall features oil paintings by members of the group. The wood carvings now on exhibition for the first time in Boston, are the work of Chetley Rittall of Boothbay Harbor, Maine. Working with wood has fascinated him since he was a boy, and before he had his own tools he often borrowed his mother's sharpest knives, unknown to her. Born on the Kennebec River in Maine in 1931, his schooling was all in Massachusetts. From 1952 to 1954 he was with the Army and travelled widely in the Orient observing Oriental wood carving. KYOTO RESTAURANT SUPERB JAPANESE CUISINE • 536-9295 337 MASS. AVE., BOSTON, Near Symphony Hall

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58 ENSEMBLES

OF THE BOSTON SYMPHONY BOSTON SYMPHONY ORCHESTRA ORCHESTRA presented by the Boston Symphony Orchestra and the New England Conservatory of Music

MONDAY EVENINGS AT JORDAN HALL

FUTURE PROGRAMS

January 8 at 8.30 MUSIC GUILD STRING QUARTET MOZART Quartet in A major K. 464 BARTOK Quartet no. 3 BEETHOVEN Quartet no. 9 in C op. 59 no. 3

February 5 at 8.30 BOSTON SYMPHONY CHAMBER PLAYERS BALAKIREV Octet WEBERN Concerto op. 24 DAHL Duo Concertante for flute and percussion MOZART Divertimento in E flat K. 563

Members of the Friends of the Boston Symphony Orchestra and Friends of the New England Conservatory may secure a free ticket for a guest to accompany them. Friends of the Boston Symphony Orchestra should telephone Mrs Whittall at Symphony Hall (CO 6-1492) for details. Friends of the New England Conservatory should get in touch with Miss Virginia Clay at the Jordan Hall Box Office (536-2412).

Single tickets for each concert are available from the Jordan Hall Box Office, 30 Gainsborough Street.

Boston 02115 (telephone 536 - 2412) Prices: $1.50, $2, $2.50, $3, $4, $5

59 THE BOSTON COMPANY, INC.

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60 FUTURE PROGRAMS

Fourth Program Tuesday evening January 16 at 8.3o

LEOPOLD STOKOWSKI guest conductor

MOZART Don Giovanni — Overture

BEETHOVEN Symphony no. 7 in A major

TCHAIKOVSKY Hamlet — Fantasy Overture

MUSSORGSKY Boris Godunov — orchestral excerpts

The fifth program, which Erich Leinsdorf will conduct on Tuesday March 19, will include performances of Symphony no. 38 in D major 'The Prague' by Mozart, and of a new Piano Concerto by Benjamin Lees. The soloist will be Gary Graffman. The world premiere of the Concerto will be given in Symphony Hall on the previous Friday.

The final program, which will also be conducted by Erich Leinsdorf, will take place on Tuesday April 9. The program that evening will include the Symphony no. 1 in C major by Beethoven, and the Piano Concerto in E flat K. 449 by Mozart. Lilian Kallir, who has played with the Orchestra at Tanglewood in the past, and earlier this season in other series in Boston, will make her debut for the Cambridge audience at the concert that evening.

programs subject to change

BALDWIN PIANO RCA VICTOR RECORDS 61 MUSICAL INSTRUCTION

GERTRUDE R. NISSENBAUM VIOLIN

340 TAPPAN STREET TEL. LONGWOOD 6-8348 BROOKLINE 46. MASSACHUSETTS

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BALLING MUSIC STUDIO PIANO • VOICE taught in the best American and European traditions 1875 COMMONWEALTH AVENUE Tel. DEcatur 2-6990 NEWTON, MASS. 02166

RUTH POLLEN GLASS MINNIE WOLK Teacher of Speech PIANOFORTE STUDIO • in Industry • in Education 42 Symphony Chambers • in Therapy • in Theatre 246 HUNTINGTON AVENUE, BOSTON opp. Symphony Hall NEAR HARVARD SQUARE KI 7-8817 Residence 395-6126 HARRY GOODMAN KATE FRISKIN Teacher of Piano Pianist and Teacher 143 LONGWOOD AVENUE 8 CHAUNCY STREET BROOKLINE • MASS. CAMBRIDGE, MASSACHUSETTS ASpinwall 7-1259 — 734-2933 ELiot 4-3891 RUTH SHAPIRO PIANIST • TEACHER 1728 BEACON STREET BROOKLINE, MASSACHUSETTS

Telephone RE gent 4 - 3267

62 A selection of recordings by the BOSTON SYMPHONY ORCHESTRA under the direction of ERICH LEINSDORF

FAURE Elegy for cello and orchestra (Mayes) LM/LSC 2703 with Prokofiev Symphony-Concerto

MENDELSSOHN A midsummer night's dream (Saunders, LM/LSC 2673 Vanni, Swenson, New England Conservatory Chorus)

MOZART Symphony no. 41 — Eine kleine Nachtmusik LM/LSC 2694 Requiem Mass (Kennedy Memorial Service) LM/LSC 7030

PROKOFIEV Symphony no. 5 LM/LSC 2707 Symphony no. 6 LM/LSC 2834 Symphony-Concerto (Mayes) LM/LSC 2703 with Faure Elegy Piano Concertos 1 and 2 (Browning) LM/LSC 2897 Piano Concerto no. 5 (Hollander) with LM/LSC 2732 Violin Concerto no. 1 (Friedman) Violin Concerto no. 2 (Perlman) LM/LSC 2962 with Sibelius Violin Concerto

RIMSKY-KORSAKOV Le Coq d'Or Suite LM/LSC 2725 with Stravinsky The Firebird Suite

SCHUMANN Symphony no. 4 LM/LSC 2701 with Beethoven Overture Leonore no. 3

Monaural records are prefixed LM; stereophonic LSC.

The Boston Symphony Orchestra records exclusively for RCA VICTOR The rnoSitrusted name in sound

"The Baldwin is the ideal piano for solo and orchestral work and particularly for chamber music. Its wide range of tonal color and its easy action fulfill all possible wishes." — Erich Leinsdorf

Erich Leinsdorf and other great artists prefer the Baldwin.

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BALDWIN PIANO & ORGAN COMPANY 160 Boylston Street Boston, Massachusetts, 02116 BALDWIN PIANOS • ORGANS Telephone 426-0775